It is stamped on the end of the handle, "Perlita," which sources indicate was a Mexico City retailer, "Taxco," for the renowned center of modernist silver manufacturing, "Sterling 925," and with an eagle symbol with a "9" on its chest, which was the number assigned by convention to Hector Aguilar.

Aguilar was a shop manager for the legendary William Spratling before he opened his own operation in 1939, and became prominent in his own righ...

One of the pairings within the Bateman Family of silversmiths, that of Peter and Ann, brother and sister-in-law, son and daughter-in-law respectively, of Hester, dates from the last decade of the 18th century.

This 8 3/4" long, approximately 2.0 T. oz., table or serving spoon, has complete and clear marks for these makers, "PB/AB," sterling, 1791, and a duty (bust) stamp.

Made in London in 1802-03 during the reign of George III, this pair of tongs measure 5 5/8" long and weigh just over 1.0 T. oz.

They are fully marked on the arms for London, 1802-03, sterling, and the family partnership of Peter (son of Hester), Ann (sister-in-law of Peter), and William (nephew of Peter) Bateman, represented as "PB/AB/WB."

It has cup grips, shaped arms, and a slightly concave arch that is engraved with a feathered script "CH" monogram.

Marked only "Sterling," this circa 1865 "Kings" pattern is readily identified. Among other features, it incorporates a rosette in the design, which was a detail particular to Philadelphia's Peter L. Krider, later Krider & Biddle.

This attribution is further reinforced by the somewhat eggplant-shaped bowl with raised central ribbing on this 8 1/2" long, approximately 1.8 T. oz., berry or serving spoon. This is a form singular to Krider.

A handsome interpretation of an English "Kings" pattern, this upturned end table serving spoon measures 8 7/16" long and weighs a heavy 2.3 T. oz.

Dating from the last quarter of the 19th century, it was made by Philadelphia's Peter L. Krider, whose name and three part, "lion, K, crown," hallmark appears on the backside, along with the word "Sterling."

It is without a monogram or removal and in immaculate condition. There are no signs of wear. The generously sized bowl, 3" by 1 1/2" at...

One of Tiffany's favored suppliers before it began to produce its own silver, was New York City's John Polhamus, who was the manufacturer of this 7" long, heavy at 1.6 T. oz., dessert or place spoon.

The pattern is "Ionic," patented in 1860, as marked on the reverse. Other identifiers include "J.P.," "Tiffany & Co.," and "Sterling." Tiffany was early to require a sterling, rather than the then dominant coin, standard.

"Ionic" is double die struck, meaning the design appears on both sid...

Originally working in Gardner, Massachusetts, Porter George Blanchard became arguably the premier name in the history of 20th century, hand crafted silver production in California, where sources indicate he established himself in 1923, and joined shortly thereafter by his father and brother.

His 1920 "Lotus," which is the pattern on this 6 1/8" long, .7 T. oz., teaspoon, exhibits the clean, simple lines and textured surfaces that define the Arts & Crafts style.

A late 19th century pattern, Durgin's "Empire" incorporates imagery reflective of majesty, nobility, and imperial realms. This includes a dominant crown. cornucopia, a torch and flame, a wreath, and festoons of ribbons and flowers.

This example is an unusual form server that measures 9 1/2" long and weighs a relatively heavy 2.9 T. oz.

It has a flat blade, with a rounded edge. The upper edge is scalloped and decorated with pattern elements. There is a slightly upraised area at the end...

It has a symmetrical, 4 3/4" long by 2 1/4" at the widest, oval blade or bowl with a slightly scooped interior. This has a deep, bronze colored, gold finish front and backsides, and delicate, stylized leaf and blossom engraving at the tip. There is a feathered script, possibly "JDQ," m...

The first decade of the 20th century witnessed a great flowering of design successes for Reed & Barton, largely influenced by Art Nouveau sensibilities and perhaps culminating with the company's figural "Love Disarmed."

"La Splendide," the pattern on this 6 1/4" long, weighty at 1.9 T. oz., sugar sifter was among the product of this period.

The relatively plain handle is surmounted by a cascade of high relief, fluid scrolls that almost seem to erupt from the handle end.

Measuring 5 7/8" long each and weighing 3.2 T. oz. the lot, each of these six spoons has a broad, tipt end handle with a twisted stem. The bowls are generously proportioned at 2 1/8" by 1 1/4" and have pointed tips.

They are marked "Rhoads" for Henry Zahm Rhoads, a Lancaster, Pennsylvania jeweler and watchmaker. Information in an online biography suggests these date within a narrow time frame, between 1861 when Rhoads returned from an apprenticeship in Virginia at the outbreak of the Civil Wa...